Showing posts with label Hohner Bass3. Show all posts
Showing posts with label Hohner Bass3. Show all posts
17.4.13
26.9.10
Live @ De Kreun, Kortrijk Rock City
Had a Blast yesterday!!
Impressive line-up, and supersets by BBBlood, Naked On The Vague, True Deep, Sewer Election a.o... and honoured to have met some great people.
ended up travelin' light w/ Hohner, voice and some effects.
for a first solo show based mainly on the synth, i think it turned out pretty well.
here's a Master Out > DI > FOH desk recording, mono as fuck.
Mono mortel aka Spacy.
Remörk DeKreun250910 by Remörk138
^ click to go to soundcloud for download.
enjoy.
Impressive line-up, and supersets by BBBlood, Naked On The Vague, True Deep, Sewer Election a.o... and honoured to have met some great people.
ended up travelin' light w/ Hohner, voice and some effects.
for a first solo show based mainly on the synth, i think it turned out pretty well.
here's a Master Out > DI > FOH desk recording, mono as fuck.
Mono mortel aka Spacy.
Remörk DeKreun250910 by Remörk138
^ click to go to soundcloud for download.
enjoy.
1.9.10
the Hohner Bass Threemörk, pt. XII: expansion
or, at least, room for it. see below.
once i got the envelope filter working, it did indeed get modded a bit.
mostly boring stuff to get it to do its job a bit better, like a trimpot here and there. no biggie, smalls.
for the bigger changes: see below.
in the end i liked the darn thing so much i needed it to be close to my baby - preferably in the same box. so i figured i got some place left in the briefcase lid..
which has the side effect of opening up some space for future inhabitant effects.
if you knowaddamsayin.
need to tidy it all up a bit still, but you get the idea.
sound files to come. as always. mañana.
controls are, top to bottom:
recycled Hohner Bass 3 preset array for HP/BP/LP (yes, i though that would be not-quite-ha-ha-funny. my inner nerd needs to feed every once in a while.)
then up - down switch, hi - low freq switch, asymmetry switch which messes with the resonant frequency of the filtering, expanding on the hi/low choice.
then peak pot, sensitivity pot (rather than volume - she wasn't playing nicely with the hohner so volume is now a fixed resistor), and blend pot.
then 3-pos. slope speed switch for slower attack speeds, and touch points to instantly collapse the filter so you don't need to turn the sensitivity knob at breakneck speed. me lazy.
overconfident as i was (or distracted, i forget) i prematurely drilled an extra hole for CV input, but haven't gotten round to implementing that yet. i feel it oughta be possible though.
sequencer goes OneUp! on PileO'ToDo.
oh, and the lens screwed with the perfectly straight lines of the board, obviously.
once i got the envelope filter working, it did indeed get modded a bit.
mostly boring stuff to get it to do its job a bit better, like a trimpot here and there. no biggie, smalls.
for the bigger changes: see below.
in the end i liked the darn thing so much i needed it to be close to my baby - preferably in the same box. so i figured i got some place left in the briefcase lid..
which has the side effect of opening up some space for future inhabitant effects.
if you knowaddamsayin.
need to tidy it all up a bit still, but you get the idea.
sound files to come. as always. mañana.
controls are, top to bottom:
recycled Hohner Bass 3 preset array for HP/BP/LP (yes, i though that would be not-quite-ha-ha-funny. my inner nerd needs to feed every once in a while.)
then up - down switch, hi - low freq switch, asymmetry switch which messes with the resonant frequency of the filtering, expanding on the hi/low choice.
then peak pot, sensitivity pot (rather than volume - she wasn't playing nicely with the hohner so volume is now a fixed resistor), and blend pot.
then 3-pos. slope speed switch for slower attack speeds, and touch points to instantly collapse the filter so you don't need to turn the sensitivity knob at breakneck speed. me lazy.
overconfident as i was (or distracted, i forget) i prematurely drilled an extra hole for CV input, but haven't gotten round to implementing that yet. i feel it oughta be possible though.
sequencer goes OneUp! on PileO'ToDo.
oh, and the lens screwed with the perfectly straight lines of the board, obviously.
24.7.10
the Hohner Bass Threemörk, pt.XI: You Must Be Kidding
no really. all the electronics are in place, the switching jacks are wired as inserts for easy effects hookup - and all of it sounds, well, "pretty ok" (notice the quotation marks) to my ears.
So, on the menu for tonight: first public performance in a 7-headed improv session @ Fort 8 in Hoboken, Belgium. Granted, not quite the Place one would associate with Space, still.. looking forward to it. See you there.
So, on the menu for tonight: first public performance in a 7-headed improv session @ Fort 8 in Hoboken, Belgium. Granted, not quite the Place one would associate with Space, still.. looking forward to it. See you there.
14.7.10
the Hohner Bass Threemörk, pt.X: Ponderings
the outside of the case looking pristine will not stop me from altering its insides.
while that goes for any make pedals, synths, toaster ovens, and basically anything else i get my hands on, it seems to be especially true for this unfinishable piece of kit. was that a word? is now.
i put in switching jacks for each voice (A, Arp., B) so as to be able to route them each to external effects. problem is, with the crude passive mixing i used, the volume on the master fluctuates with patching. you want the Arpeggiator going to a delay? possible. however, voice A and B will be louder on the master all of a sudden.
not my idea of fun.
so i'm going in for buffer overkill.
(yeah, i know, not my idea of fun either, but that's what happens when you don't really know what you're doing - piecing everything together one step at a time. so sue me.)
and since turning back - like turning down - is not an option, i breadboarded a little.
seems it will work out, in the end. yay.
upon which i tried a cheesy envelope filter on the Arpeggiator.
lo and behold: it started to sound like a Real Synth.
i hate envelope filters on guitar, but all of a sudden they do seem interesting.. should have an old Melos effectmatic (one of many mu-tron III adaptations) lying around here somewhere that's in need of repair. Up two steps on that ol' priority list..
9.7.10
the Hohner Bass Threemörk, pt.IX: Pictures
gutshot shows wiring still not fully tidy.. working on that.
Sounds Coming Soon. (promise.)
the Hohner Bass Threemörk, pt.VIII
did i say 'and after that.. we're done?'
ah, the folly of youth.
it's never over.
the extra gapper oscillator - or MCO, as in Manually Controlled Oscillator. yes, i actually think that's funny -
got its range switch, selecting between three speeds, with an octave (more or lessy) between them.
Chopper to BabyWantsCandy high whine. yay.
plus, i added another switch to choose its destination: the arpeggiator section, running the gapper, or the voice A filters. got its own volume control for that one, determining the submix to voice A.
Since the gapping consist of switching to 4 empty (thus silent) inputs on the Mux, i went ahead and wired them together to a jack. So now i basically have an option to run external audio through the arp section, filling the gaps, alternating with the synth sound. tried it with a heavily distorted guitar and results were funghi sweet.
(heavily distorted since the input needs a dedicated preamp, actually, but that's not there yet. Did i mention it's never over?)
Turning the 4 octave knobs all the way down gives you a squarewave tremolo on the external, with an option of running the MCO gapper as well. Dual trem. Pretty nifty. Do people still use that word, nifty?
Well then, on to the outside of the thing.. aka the Looks.
i picked up a thrift store suitcase with the exact dimensions of the keyboard.
due to my Add On and Pile Up approach, i ended up with a gazillion little subboards that all needed to sit snugly in there.
so far, no problems. loads of wiring though.
ditched the layout testing cardboard for some nice wood panelling, cut ridiculously exact to specs with the help of mr. Zeichnungsfreistelle himself.
drilled pretty clean to photoshop drilling template, so as to stop myself from making further additions: man needs to know his limits, and i'm way beyond them already anyway.
I still need to order me some nice knobs, right now i'm making do with whatever i had lying around.
Was thinking of screenprinting the faceplate, but that would make it Xmas by the time i get finished so i decided against it.
So right now i'm actually in the process of cleaning up the wiring, which sounds pretty final to me.
now for that external audio preamp..
ah, the folly of youth.
it's never over.
the extra gapper oscillator - or MCO, as in Manually Controlled Oscillator. yes, i actually think that's funny -
got its range switch, selecting between three speeds, with an octave (more or lessy) between them.
Chopper to BabyWantsCandy high whine. yay.
plus, i added another switch to choose its destination: the arpeggiator section, running the gapper, or the voice A filters. got its own volume control for that one, determining the submix to voice A.
Since the gapping consist of switching to 4 empty (thus silent) inputs on the Mux, i went ahead and wired them together to a jack. So now i basically have an option to run external audio through the arp section, filling the gaps, alternating with the synth sound. tried it with a heavily distorted guitar and results were funghi sweet.
(heavily distorted since the input needs a dedicated preamp, actually, but that's not there yet. Did i mention it's never over?)
Turning the 4 octave knobs all the way down gives you a squarewave tremolo on the external, with an option of running the MCO gapper as well. Dual trem. Pretty nifty. Do people still use that word, nifty?
Well then, on to the outside of the thing.. aka the Looks.
i picked up a thrift store suitcase with the exact dimensions of the keyboard.
due to my Add On and Pile Up approach, i ended up with a gazillion little subboards that all needed to sit snugly in there.
so far, no problems. loads of wiring though.
ditched the layout testing cardboard for some nice wood panelling, cut ridiculously exact to specs with the help of mr. Zeichnungsfreistelle himself.
drilled pretty clean to photoshop drilling template, so as to stop myself from making further additions: man needs to know his limits, and i'm way beyond them already anyway.
I still need to order me some nice knobs, right now i'm making do with whatever i had lying around.
Was thinking of screenprinting the faceplate, but that would make it Xmas by the time i get finished so i decided against it.
So right now i'm actually in the process of cleaning up the wiring, which sounds pretty final to me.
now for that external audio preamp..
4.6.10
the Hohner Bass Threemörk, pt.VII
Tried the Q control on the filters.
For the tech savvy: varying the emitter R on the filters. i love you guys.
well, as far as Theory goes, it worked - but then theory only goes so far.
So no, not even close to the 'Keep It, Wire It' section.
results on the Tuba filter were boring, so that one's standard issue still.
slightly better on the String filter, but there was another R where variation was more interesting -
the 100K from buffer out to filter in got a parallel 500K pot.
changing F and Q at the same time, for more of a 'Sweepy' feel, if that means anything.
changing the Q (varying Re) together with that sweep gave a slightly larger range, but it wasn't worth an extra pot -
it was just making things more complicated, more than anything else.
last thing i'm wondering is if i should hook LFO II (the ring mod gapper driver - terminology inc., get in touch)
to the audio output in some way. seems like a waste to have an oscillator running in the audio range and not hear it ;)
and after that - we're done!
For the tech savvy: varying the emitter R on the filters. i love you guys.
well, as far as Theory goes, it worked - but then theory only goes so far.
So no, not even close to the 'Keep It, Wire It' section.
results on the Tuba filter were boring, so that one's standard issue still.
slightly better on the String filter, but there was another R where variation was more interesting -
the 100K from buffer out to filter in got a parallel 500K pot.
changing F and Q at the same time, for more of a 'Sweepy' feel, if that means anything.
changing the Q (varying Re) together with that sweep gave a slightly larger range, but it wasn't worth an extra pot -
it was just making things more complicated, more than anything else.
last thing i'm wondering is if i should hook LFO II (the ring mod gapper driver - terminology inc., get in touch)
to the audio output in some way. seems like a waste to have an oscillator running in the audio range and not hear it ;)
and after that - we're done!
28.5.10
the Hohner Bass Threemörk, pt.VI
well. the tuba, string, arpeggiator and straight sounds all play together nicely now.
allpass filter on the tuba, inverter on the strings.
arpeggiator and straight sounds all got buffered, to avoid mixing problems
and to be able to give them separate jack outs if i feel like it. we'll see.
my first plan was to have two switches - between Straight/Tuba/String for the A voice, and between Straight and Arpeggiator for B. i changed my mind about that last one.
while testing everything (aka noodling for hours without actually soldering) i decided i wanted to be able to blend in the arpeggiator with it's own volume knob. so now the final mixing section would look like this:
the filter switch for A + A volume
B straight volume
B arpeggiator volume
Master volume.
the 4 octave mixing knobs will work for both B sounds at the same time, but they actually seem to complement one another nicely that way. maybe it's just me getting used to the limitations of the instrument - and actually starting to like them.
only thing i still want to try is to add a Q control on the tuba and string section.
since the resonant frequencies of the filters are fixed (and so is the alpass filter f on the tuba, so there) i'm not sure if it will add a lot to what i have. will have to hear it and see what it does, and if it's interesting enough of an effect to merit extra pots.
the second LFO for the gapper on the Arpegg is getting switchable caps i think. i really like it when it's driven high up the audio range, but the slow chopping tremolo effect is nice as well.. think extra switch. gon' be funki.
dus berijden, die blokgolf!
allpass filter on the tuba, inverter on the strings.
arpeggiator and straight sounds all got buffered, to avoid mixing problems
and to be able to give them separate jack outs if i feel like it. we'll see.
my first plan was to have two switches - between Straight/Tuba/String for the A voice, and between Straight and Arpeggiator for B. i changed my mind about that last one.
while testing everything (aka noodling for hours without actually soldering) i decided i wanted to be able to blend in the arpeggiator with it's own volume knob. so now the final mixing section would look like this:
the filter switch for A + A volume
B straight volume
B arpeggiator volume
Master volume.
the 4 octave mixing knobs will work for both B sounds at the same time, but they actually seem to complement one another nicely that way. maybe it's just me getting used to the limitations of the instrument - and actually starting to like them.
only thing i still want to try is to add a Q control on the tuba and string section.
since the resonant frequencies of the filters are fixed (and so is the alpass filter f on the tuba, so there) i'm not sure if it will add a lot to what i have. will have to hear it and see what it does, and if it's interesting enough of an effect to merit extra pots.
the second LFO for the gapper on the Arpegg is getting switchable caps i think. i really like it when it's driven high up the audio range, but the slow chopping tremolo effect is nice as well.. think extra switch. gon' be funki.
dus berijden, die blokgolf!
15.5.10
thee Gristleizer, Pt.III / Hohner continued
testing if you could throw control voltages at the Gristleizer instead of the internal LFO.
why yes you could.
running things off a crude - be honest: unfinished - CV sequencer (think Baby10), 0-5v CV works perfectly. it actually provides a slightly wider range than the LFO.
needs a little tweak of the Bias knob of course, but works like a charm.
or is that unlike a charm? i forget. (rabbit's foot,anyone?)
for demo purposes, and to keep things interesting for myself, i used the gate out of the external sequencer to step the Hohner Arpeggiator. every new rising edge is a step, so you can make some really random sounding sequences indeed. well, unless you put some effort in, in which case you could make it sound like a 4 to the Floor.
on MDMA drinking watered down RedBullVodka, that is, but hey.
hitting the sync gapper on the arpeggiator makes for a silence every time the gate drops to 0v. nice.
the whole thing is quite promising.
makes me want to finish that sequencer.
Hohner3000 + gristlizer + sequencer demo by Remörk138
why yes you could.
running things off a crude - be honest: unfinished - CV sequencer (think Baby10), 0-5v CV works perfectly. it actually provides a slightly wider range than the LFO.
needs a little tweak of the Bias knob of course, but works like a charm.
or is that unlike a charm? i forget. (rabbit's foot,anyone?)
for demo purposes, and to keep things interesting for myself, i used the gate out of the external sequencer to step the Hohner Arpeggiator. every new rising edge is a step, so you can make some really random sounding sequences indeed. well, unless you put some effort in, in which case you could make it sound like a 4 to the Floor.
on MDMA drinking watered down RedBullVodka, that is, but hey.
hitting the sync gapper on the arpeggiator makes for a silence every time the gate drops to 0v. nice.
the whole thing is quite promising.
makes me want to finish that sequencer.
Hohner3000 + gristlizer + sequencer demo by Remörk138
13.5.10
Thee Gristleizer, Pt.II
yay!
Hohner3000 + gristlizer demo by Remörk138
the arpeggiator section through the VCA, well - some, and then quickly on to the VCF.
tweakle dee and tweakle dum, as one might say.
// small postrecording edit: been toying with the clock cap, and i have the LFO running pretty pretty slow -am listening to the ramp up doing about 6 minutes per cycle right now. all in good fun, of course. //
oh, and kids: when you're handling sharp objects
such as knives, axes and the like,
always move them AWAY from your other hand.
Hohner3000 + gristlizer demo by Remörk138
the arpeggiator section through the VCA, well - some, and then quickly on to the VCF.
tweakle dee and tweakle dum, as one might say.
// small postrecording edit: been toying with the clock cap, and i have the LFO running pretty pretty slow -am listening to the ramp up doing about 6 minutes per cycle right now. all in good fun, of course. //
oh, and kids: when you're handling sharp objects
such as knives, axes and the like,
always move them AWAY from your other hand.
7.5.10
the Hohner Bass Threemörk, pt.V
small update..
haven't had a lot of time
but we don't need time, we're already in eternity.
some clever man's quote i remember reading on a Kosjer D album sometime during the 9ties.
i'll look up that name later rather than sooner.
tried different blending options and filters, and decided - in order to finish this thing this century - to stick with the original filters (aka the tuba and string presets) on voice A. although some parts of those are still waiting to be tweaked.
the arpeggiator voice didn't sound too hot through those filters, but i'll probably be giving it a dedicated output so i can run it through whatever external filter i damn well please. same reason i'm giving A a straight option as well - no filtering.
i tried blending the 3 sounds (straight/string/tuba) with 3 pots but it didn't amount to much, so they're back on a switch now.
reading up on buffers (inverting/non inverting), needed for separation between the straight and filtered sound.
filters loaded the original so much it wasn't usable for the straight sound anymore.. buffered and splitted, sounds perfect.
more lecture on all-pass filters, needed to compensate for the phase shift in the tuba sound. the filtered sounds don't play together too nicely with the straight voice B without phase correction - too much cancellation on the pot rotation.. also, a lot better now.
in the process, i came across a nice Spice Circuit Simulation Program for mac as well: Qucs.
Silly name, but open source, and a great alternative to MacSpice which only does text-based analysis.. Qucs starts from the schemo yo. which is great if you're more into circuitry than programming.
i've a feeling i'm getting close to having all the options mapped and cut and dried and decided and all that.
when i reach the final stage, i'll do a schematic comparison.
should be interesting.
to me, that is.
more interesting than a flow-chart comparison - made one earlier to keep my head clear
and it seems there's not too much difference with the original, haha.. but i'm a sucker for flow charts.
haven't had a lot of time
but we don't need time, we're already in eternity.
some clever man's quote i remember reading on a Kosjer D album sometime during the 9ties.
i'll look up that name later rather than sooner.
tried different blending options and filters, and decided - in order to finish this thing this century - to stick with the original filters (aka the tuba and string presets) on voice A. although some parts of those are still waiting to be tweaked.
the arpeggiator voice didn't sound too hot through those filters, but i'll probably be giving it a dedicated output so i can run it through whatever external filter i damn well please. same reason i'm giving A a straight option as well - no filtering.
i tried blending the 3 sounds (straight/string/tuba) with 3 pots but it didn't amount to much, so they're back on a switch now.
reading up on buffers (inverting/non inverting), needed for separation between the straight and filtered sound.
filters loaded the original so much it wasn't usable for the straight sound anymore.. buffered and splitted, sounds perfect.
more lecture on all-pass filters, needed to compensate for the phase shift in the tuba sound. the filtered sounds don't play together too nicely with the straight voice B without phase correction - too much cancellation on the pot rotation.. also, a lot better now.
in the process, i came across a nice Spice Circuit Simulation Program for mac as well: Qucs.
Silly name, but open source, and a great alternative to MacSpice which only does text-based analysis.. Qucs starts from the schemo yo. which is great if you're more into circuitry than programming.
i've a feeling i'm getting close to having all the options mapped and cut and dried and decided and all that.
when i reach the final stage, i'll do a schematic comparison.
should be interesting.
to me, that is.
more interesting than a flow-chart comparison - made one earlier to keep my head clear
and it seems there's not too much difference with the original, haha.. but i'm a sucker for flow charts.
28.4.10
the Hohner Bass Threemörk, pt.IV: first little demo
Hohner3000 first demo by Remörk138
so what am i listening to here, exactly?
well, for starters, it's only a single voice. so no layered sounds yet.
no filter section either - just the straight square waves.
starts out with the variable octave mix.
next up is a VCA test, going from short to long attack time.
then the fun stuff starts: the arpeggiator section. preset making, speed control, the synced gapper.
didn't get round to demoing the 2nd LFO for the gapper yet, but i will. one day.
then a quick reminder that the octave mix pots also work in the arpeggiator section - turning an octave to 0 makes a rest, which yields nice rhythmic patterns.
i must say, i kinda like what it's doing so far. too bad there's hardly any time for more this week.
but rehousing is in full effect, using an ugly piece of cardboard box to test knob layouts etc.. get back on that later.
enjoy.
so what am i listening to here, exactly?
well, for starters, it's only a single voice. so no layered sounds yet.
no filter section either - just the straight square waves.
starts out with the variable octave mix.
next up is a VCA test, going from short to long attack time.
then the fun stuff starts: the arpeggiator section. preset making, speed control, the synced gapper.
didn't get round to demoing the 2nd LFO for the gapper yet, but i will. one day.
then a quick reminder that the octave mix pots also work in the arpeggiator section - turning an octave to 0 makes a rest, which yields nice rhythmic patterns.
i must say, i kinda like what it's doing so far. too bad there's hardly any time for more this week.
but rehousing is in full effect, using an ugly piece of cardboard box to test knob layouts etc.. get back on that later.
enjoy.
21.4.10
the Hohner Bass Threemörk, pt.III
Small update: the arpeggiatorererer is working!
master clock from a 40106 drives a 4017 counter. pulses from outputs 1 through 8 get sent to the switches where they are routed to the binary control pins on the 4051. this is an 8-channel analog signal switcher, so basically you're selecting input 1, 2, 3 or 4 to be routed to the output. on the inputs are the four octaves.
0 0
0 1
1 0
0 0
however, on the other 4 inputs is nothing.. pulling the third control pin high means silence. opportunity to have a 'gapper'- hardcore squarewave tremolo. either in sync with the clock (inverted clock to control pin, 50% note length, nice!), or driven by a second lfo on the 40106.
that works, kinda. however, the fun begins if you drive the gaps into the audio range - fake ring modulation style. Sweet.
still need to figure out some final mixing options - what voice to route to what filter, and wondering if i need extra filters with more controllable parameters.
started working on rehousing the whole thing.
the case is in a pretty bad shape, crumbles when drilled, and most importantly: it's gonna be too small for all the impending gadgetry.
the Hohner Bass Threemörk, pt.II
Bass / String / Tuba. hmm.
as far as i understand it, we have: 1 main squarewave oscillator.
its pitch (labelled 4') gets divided down to 2 lower octaves (labelled 8' and 16'). two submixes of these octaves are made, both of which are sent to their own crude single trannie VCA's.
the Main Mix VCA features: a decay control and a bypass switch for continuous sound. the result of which gets sent to 2 selectable bandpass filters. et voila: Tuba and String presets.
the second mix (no 16' in that one) has a fixed -short!- decay time on its VCA, and is only used to mimic the plucking attack of an electric bass in the 'bass' preset. which is basically the String sound, with this second voice added. seems a bit of a waste.
So.
the divider chip yielded some more suboctaves, only one of which was musically relevant. anything below this 32' ended up spewing clicks. interesting, but not for my purposes - not this time. added it to the mix.
next, brought out the fixed mixes to be fully variable for both voices. lots of new textures. and pots, for that matter.
VCA decay time for voice 2 is now controllable as well.
since detuning one voice against the other is not an option - they're both based on the same oscillator - and since the waveshapers i tried didn't seem too happy with the square waves, i decided to have an arpeggiator thingamawhatsit jumping between the four available octaves of the second voice. figured i could build one with a 4051 analog multiplexer i pulled from an old wacom tablet. ignoring future real estate problems, i thought i'd go Cook Your Own Pattern sequencer style on the arpeggiator: 8 steps, slider selectable between the four octaves.
Never look a gift horse in the mouth, just unscrew the lid and see what you can use.
as far as i understand it, we have: 1 main squarewave oscillator.
its pitch (labelled 4') gets divided down to 2 lower octaves (labelled 8' and 16'). two submixes of these octaves are made, both of which are sent to their own crude single trannie VCA's.
the Main Mix VCA features: a decay control and a bypass switch for continuous sound. the result of which gets sent to 2 selectable bandpass filters. et voila: Tuba and String presets.
the second mix (no 16' in that one) has a fixed -short!- decay time on its VCA, and is only used to mimic the plucking attack of an electric bass in the 'bass' preset. which is basically the String sound, with this second voice added. seems a bit of a waste.
So.
the divider chip yielded some more suboctaves, only one of which was musically relevant. anything below this 32' ended up spewing clicks. interesting, but not for my purposes - not this time. added it to the mix.
next, brought out the fixed mixes to be fully variable for both voices. lots of new textures. and pots, for that matter.
VCA decay time for voice 2 is now controllable as well.
since detuning one voice against the other is not an option - they're both based on the same oscillator - and since the waveshapers i tried didn't seem too happy with the square waves, i decided to have an arpeggiator thingamawhatsit jumping between the four available octaves of the second voice. figured i could build one with a 4051 analog multiplexer i pulled from an old wacom tablet. ignoring future real estate problems, i thought i'd go Cook Your Own Pattern sequencer style on the arpeggiator: 8 steps, slider selectable between the four octaves.
Never look a gift horse in the mouth, just unscrew the lid and see what you can use.
20.4.10
the Hohner Bass Threemörk, pt.I
i was given this Hohner Bass 3 keyboard by my dear friends of the White Circle Crime Club.
bought secondhand, it turned out to be DOA. them rascals were gonna throw it out, unless i wanted it. gee, lemme think.
opened up and nerded out. it turned out it was nothing a lil' TLC couldn't fix: press return to original specs. only problem: the thing, for all its - shift lock alert - Vintage Quality, sounds perfectly boring.
the original schem said 'subject to modifications'.
ain't that the truth.
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